Brooks’ WorldWarZ (2009) and Lionel Shriver’s We Need to Talk About Kevin (2010) all make use of this structure, with the potential for unreliable narration being a key factor in these texts. It is into this tradition that Dear Esther fits: the unreliability of the narrator becomes a major factor in the interpretive nature of the narrative. The fragmentary nature of the letter delivery means that the player, to understand the narrative fully, must repeatedly force the narrator to relive his suicide, haunting this landscape with his continued presence each time
Capitalising (on) ghosts in German postdramatic theatre
, Ökonomie im Theater der Gegenwart:
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Gothic . Cambridge : D. S. Brewer , 1–10 .
Botting , Fred . 2013 . ‘Globalzombie: From White Zombie to WorldWarZ ’ . In Glennis
Byron , ed